A program devoted entirely to Gilles Binchois (c.1400-1460) is
certainly welcome, and long-awaited. It would be nice to have a
program devoted to Binchois' fairly extensive sacred output as
well.

Gilles de Bins, known as Binchois, was born in Mons south of
Brussels to a family of privileged background. He was in France
early in his career, and then took up the leading position at the
court of Burgundy. At the time, this was the most eminent court
in Europe, and Binchois' position gave him pride of place. Indeed,
his songs from the 1420s-40s survive more widely and in greater
number than those of Dufay from that period. Many anonymous songs
of the period are also thought to be by Binchois.

Binchois' songs are highly elegant and refined, eschewing much
of the more outgoing quality which characterizes Dufay. They are
overwhelmingly in three parts, with the upper part given prominence.
In addition, Binchois makes use of many passing dissonances in ways
his contemporaries rarely did.

Binchois set songs of many of the leading figures of the time,
including Christine de Pizan (track #15), Charles d'Orleans, and
Alain Chartier (tracks #1, 4, 16). The centrality of Binchois'
output has long been overlooked in popular surveys, although it
has been acknowledged in musicological surveys. Beyond this, the
sheer quality and stunning beauty of his songs makes them an
incomparable body of music.

Important recordings by the present ensemble devoted to music
in this style: